Furniture is a work after processing and carving. Buying furniture is not buying wood. Even if rare woods such as Huanghuali and Red Sandalwood are made poorly, their finished furniture does not have aesthetic or collection value.
There are usually two types of people who like traditional furniture. One type only "looks" but not "buy", and the other type continuously improves the ability to "look" while buying. Obviously, the latter's eyesight is more sophisticated and unique.
However, for some “new arrivals†collectors who want to avoid detours in the collection, there is more or less such confusion: what kind of furniture is worth buying?
In response to this problem, we have successively published some articles from different perspectives, and in today's sharing, we mainly study how to use carvings to clearly distinguish the advantages and disadvantages of furniture.
In the furniture circle, there is a word called "work". I often hear people say that they get the terms of work university, good work, and Qianlong work. In fact, work here refers to the carver on the furniture.
Good furniture has a common feature: unless it is not carved, its carving must be very beautiful. Nowadays, all kinds of mahogany furniture on the market are confusing. No matter where to buy, the salesperson will basically emphasize two points. The first is the preciousness of the wood, and the second is how good the carving is.
The preciousness and authenticity of wood is another topic. Today we are talking about work. If you are an old connoisseur, just ask: what's the good? The answer is often: you will know by comparison.
Of course, there are also sales people who are familiar with the business, and will give a rough introduction to "Where is it good", but as a consumer, the quality of furniture should have a scale in mind. Weigh the furniture and see if it can stay flat.
The carving is one of the scales that weigh furniture, and it is important to consider when choosing furniture. So, what kind of carving is good?
Here, we have summarized several criteria for judgment, which can be used as a reference for consideration, so that we can roughly distinguish the advantages and disadvantages of furniture.
One   Look at the composition
The concept of composition is not unfamiliar to everyone. This is the term for painting, which refers to the placement of objects and the rhythm and relationship between them in a work. Similarly, on furniture, the composition of carvings is also an important criterion for measuring the artistic value of a piece of furniture.
Just like a painter and artist creating a work, the designer of the furniture also has to deal with composition. The composition includes the scale and rhythm of carving. A good ratio should be coordinated and comfortable, and a good rhythm should be dense and well-organized.
The overall composition of the carvings on traditional furniture is a symmetrical composition of the central axis, which is in line with the traditional ideas of impartiality and impartiality. This is grasped from the overall situation.
From the point of view of the relationship between the parts, from the top cabinet door to the openwork of the back of the chair, the size ratio and position relationship of the pattern are very important. The positional relationship is best to comply with the "golden section" aesthetic law.
The so-called "golden section" is that the ratio of the larger part to the smaller part of the whole needs to be equal to the ratio of the whole to the larger part. The ratio is 1: 0.618 or 1.618: 1.
Taking the carving on a door panel as an example, the proportion of the composition is too large or too small can have a sense of beauty. Too large and too full will give people a feeling of air tightness, while too small is easy to appear empty because of too much white space Carved ornaments are no exception, such as full carvings, dragons, ruyi patterns, etc. The size of these ornaments should be determined according to the size of the furniture.
However, with the changes in the aesthetics of the times, the golden ratio is not entirely applicable. Taking Qing-style furniture as an example, there are some furniture that use full carving techniques in pursuit of magnificent artistic effects.
The composition is good or bad. In addition to the proportion, the rhythm of the picture is also very important. The tension is slow and slow, and there is no room for confusion. This depends on personal aesthetic cultivation. It requires long-term observation of excellent works of art and optimistic furniture samples to figure out the mystery.
two   Take a closer look at "points, lines, areas"
If the first step to determine the merits of the carving is to look at the whole, then the second step is to look into the details and analyze the carving from three aspects: point, line and plane.
 Observe the point of carving
On the basis of reasonable composition, compare the differences of carvings at various points. For example, dragon scales carving dragon furniture. A good dragon scale carver should be neat and natural, and the marks of the sword are like clouds and flowing water. If this effect is not achieved, it cannot be regarded as a good carver. Another example is the carved characters, whether the facial features of the characters are clear and refined, and whether the expressions are rich in rhyme.
By the way, here is that the carving of traditional old furniture pursues charm and odor more. There is no room for comparison with the precision and fineness of the current popular mechanics, and they should be treated separately.
Here's a little trick, the finer it is, the harder it is to sculpt, so you can observe from the finest. Especially for small pieces with fine carvings, looking at the pictures is much larger than the actual ones, creating an illusion. In fact, this is a manifestation of superb carving craftsmanship.
 Observe the line of carving
Observe whether the lines of the furniture are well-proportioned. For example, the yang line and pimp line on furniture, from the side, the curvature of the curved yang line should be full, uniform, and consistent. If the line is rigid and stiff, it is a failure; the yang line of some furniture appears wavy and thick along the way Unevenness means that the carving is not precise; the shape of each cross section of a good Yang line should be the same size and full of beauty.
At the same time, such as figure clothing, plant branches, etc. also belong to the scope of the line. Of course, the carvings of the lines are not as good as possible on the furniture, but more complicated, and there are also issues of aesthetics and charm. This has risen to the metaphysical level from the "work" technique.
 Observe the carved face
The surface of the carved furniture, whether it is shoveling or lifting, the bottom should be flat. When purchasing, you can observe whether there is a change in the light and shadow on the side through the side view, or you can touch it by hand to feel whether the bottom surface is flat.
In addition, observe the intersection of the bottom surface and the carving, that is, whether the root of the carving is clean and sharp, and polish it in place. The roots of some furniture are ambiguous, there is no ups and downs, and there is no fine grinding, and the intersection of the bottom and the relief is indistinguishable.
There is also a land-reducing engraving method on the market, which is very popular because it saves man-hours in terms of production.
Specifically, when making the Yangyang Line, it is not to leave the Yang Line shoveled flat, but the ground is at the same height as the line, only shoveling some near the edge of the Yang Line, causing the illusion of the Qiyang Line.
Take the old Kirin Circle Chair of Mr. Wang Shixiang in Shanghai Museum as an example——
â–² The openwork unicorn pattern on the original model has a bright edge and a sun line, and the back plate is flat.
â–² The new imitation unicorn pattern circle chair on the market is open, with the sun line on the side, and the back plate does not shovel the ground.
Although this construction method saves working hours, in traditional furniture, it is far from the old furniture.
three   See Shen Yun
After the analysis of points, lines, and areas, you can enter the next stage: that is, see if the carving has a charm.
Furniture that meets the first two standards can basically reach the mid-range level and meet the standards of practical appliances, but it still stays at the "technical" level, and the third step is to determine whether a piece of furniture has art and collection value.
If a piece of furniture has the above three points at the same time, it can be called a boutique.
The ultimate of the carving is in the charm, and only a living can make a piece of furniture full of vitality. Let's still take the dragon pattern as an example: it is better for the dragon pattern to live with divine power. Nowadays, the dragon patterns carved on some furniture only have a dragon shape without a dragon god, which is very rigid and has no dragon charm. The vivid dragons and clouds should have a sense of ascent, fresh and powerful, and lifelike.
Similarly, taking the furniture of carved figures as an example, although some furniture are not unreasonable to look at the expressions and clothing of a character, on the whole, they find that the expressions and expressions of many characters are very similar, just like a literary work Hundreds and ten characters are carved out in the same way, lacking a vivid personality and charm. By analogy, the same is true of flowers, landscapes, and animal decorations.
Yang line running through the inside of the horseshoe leg
Scenery needs to be carved and has a taste, which not only stays at the technical level of "work", but also depends on the cultural and artistic cultivation and connotation of the producer. Just like you buy furniture, what kind of furniture do you choose? It means which level of your aesthetic level.
After mastering the above three steps, you can roughly distinguish the merits of furniture by carving. If you still have concerns, here are two more details for your reference:
Touch the invisible parts of the furniture with your hands, feel whether there are burrs, and whether the touch is smooth and silky. This is the fine intuitive tactile experience of the miller; observe the materials and processes on the unclear surface of the furniture, and the back is in place There will be no major problems in face.
Furniture is a work after processing and carving. Buying furniture is not buying wood. Even if rare woods such as Huanghuali and Red Sandalwood are made poorly, their finished furniture does not have aesthetic or collection value.
And good craftsmanship can enhance the added value of a piece of furniture, if it is reflected in such good materials as Huanghuali red sandalwood, it is even more difficult to meet, if you encounter such fine furniture, you may wish to "accept it!"
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